USA Today's Scores

  • Movies
  • TV
For 3,387 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Chicago
Lowest review score: 0 Idle Hands
Score distribution:
3,387 movie reviews
  1. The lark-ish Perfect Score is on the high side of the time-killer it sounds like.
  2. The thin premise here seems better suited to a sitcom episode than a full-length feature. That's not surprising given that director Mark Mylod's résumé includes British TV comedies and "Entourage" episodes.
  3. Family Weekend is the kind of dark-for-dark's sake, wannabe quirkfest that proves indie films can be just as clichéd and vapid as the most soulless Hollywood movies.
  4. What do you call a filmmaker who thinks imitating a screen benchmark can make up for emotions that are evading her actors -- Clueless.
  5. Anyone who pays to see it will certainly feel as if he has been clipped.
  6. Lacks tension or mystery. Even the courtroom scenes feel artificial.
  7. Yogi Bear is a big boo-boo.
  8. I cry for I Spy— or I would if this latest and laziest imaginable of all vintage-TV spinoffs were capable of engendering an emotional response of any kind. Comas are physical, not emotional.
  9. Plays a little like a pacifistic variation on Bruce Lee's "Enter the Dragon."
  10. This wrongheaded biopic that bears her name does nothing to burnish her legacy. In fact, the tedious movie lacks any insight into the characters involved, and surely would have the late Princess of Wales rolling in her grave. And it can't be easy on her sons to see their mother depicted in such a one-dimensional fashion.
  11. You can feel the movie going wrong in the first scene.
  12. The standout performances by Sobieski and Skarsgaard, and the sense of foreboding aided by the deliberate pace of this suspenseful script, polish off the rough edges.
  13. You can always judge a sci-fi thriller by its aliens. What does Planet offer -- Space roaches.
  14. The biggest mystery in this wannabe thriller is why such topnotch actors would sign on for such a dreary movie that amounts to a mediocre soap opera.
  15. Bewitched does have a few laughs, thanks to Ferrell's antics. And some of the wittiest contemporary comedians are on board, notably "The Office's" Steve Carell and "The Daily Show's" Stephen Colbert, but they are underused.
  16. When it comes to comedies about pregnancy, "Knocked Up" and "Baby Mama" delivered more. This sitcom style exercise in planned parenthood is blandly predictable. If it were a cheese, it would be Velveeta.
  17. Ghosts can't make up its mind whether it wants to be a racy raunchfest or a sentimental celebration of soul mates. So it ends up being a sappy, sleazy hybrid.
  18. Sporadically amusing but sometimes slogging.
  19. When so many PG-13 movies are encroaching on R-rated turf, it's heartening to see a film that responsibly approaches its audience.
  20. Cloying and dated movie.
  21. Shyamalan isn't drawing the caliber of performances from his actors as he used to. Who can forget Haley Joel Osment's haunting portrayal in The Sixth Sense or that of Toni Collette, who played his mother, or Bruce Willis in arguably his best role?
  22. Clumsy urban thriller.
  23. A Disney Thanksgiving movie that plays like a Halloween holdover is odd enough. Even so, it wouldn't be that bad if you stuck your hand into the trick-or-treat bag and found a hefty, succulently dressed and edible turkey instead of the other kind.
  24. Deep within Law Abiding Citizen lurks a thought-provoking movie. But most of what we see on the screen is implausible, superficial and only marginally involving.
  25. While it's billed as a "re-imagining" of the horror franchise, this Friday is more like a rehash, delivering just what you expect and nothing more.
  26. The humor, largely centered around bodily functions and bathroom habits, is almost exclusively sophomoric.
  27. When it aims for humor, it feels overwrought and clichéd.
  28. A little soon for any movie this millennium to reunite overacting Matthew Lillard, underacting Freddie Prinze Jr., feigning mousy Linda Cardellini and the more obviously lip-glossy Sarah Michelle Gellar.
  29. For a big-screen disposable, Doom has a few jolts, a few good laughs and an attractive female lead to whom you want to say, "What's a nice girl like you doing on a Mars like this?"
  30. This insipid, and sometimes awkward, blend of animation, computer generation and live action wastes a ton of talent and lacks a true sense of whimsy.
  31. You don't have to believe in far-fetched tales of mysterious beams of light and alien abductions to get caught up in The Fourth Kind.
  32. It would have worked better if the silly premise had been played for farcical satire, rather than following the cookie-cutter rules of the romantic comedy playbook.
  33. Give Dozen a slight edge to the mournful "Yours, Mine & Ours" as a holiday season bottom-feeder, because Martin and Levy are better at slapstick than Dennis Quaid.
  34. The tepid result is like "Courage Under Fire" without the compelling Meg Ryan angle, or Travolta's 1999 "The General's Daughter" without the sexual squalor. It all feels a little moldy.
  35. A bottom-rung Bette Midler vehicle disguised as a biopic of novelist Jacqueline Susann, the movie is a wannabe satire shackled by misplaced reverence.
  36. This could be the start of an awful new genre: Nannies Gone Wild.
  37. Shot by a special-effects superstar making his first stab at directing, Mark Dippe, the result is dizzying in its unreality, and the visual tricks are impressive. [01Aug1997 Pg.02.D]
    • USA Today
  38. Within a few minutes into the ponderous prehistoric pseudo-epic that is 10,000 B.C., you find yourself longing for George of the Jungle to crash into a tree or the Geico cavemen to amble up and put an end to the droning seriousness of this tedious tale.
  39. The film feels as calculatedly sentimental as one of those bland pink candy hearts.
  40. Unless you have a craving to watch a sluggish Ski-Doo race or want to admire Chase dressed as a hula dancer, consider this the cinematic equivalent of yellow snow.
  41. Such overkill might seem like an asset to teenage boys (and those who think like them). The rest of us are better off not wasting our Washingtons.
  42. Despite its collegiate setting, 21 and Over is pretty much for people with an IQ of 21 and under.
  43. The picture-postcard location of Southport, N.C., is the film's strong suit.
  44. Amusingly macabre. [16 July 1999]
    • USA Today
  45. Those who sit through this mindlessness get the booby prize.
  46. Her (Garner) grace and mystical abilities make for a lonely burden, and we are supposed to feel her pain. Instead, we feel our own for having to sit through this silly movie.
  47. It's no "Taxi Driver" or even "Open Water," but Route has enough attractions to warrant the trip.
  48. The movie is raunchier than expected, and above all clichéd, formulaic and thoroughly sexist. Worst, it's just not very funny.
  49. The opening frame of Jonah Hex should say: "Caution: Made expressly for the male teen demographic. Not suitable for anyone of any age who prefers movies with coherence, an original plot or characters they give a hoot about."
  50. What we get is simply another opportunity for Schwarzenegger -- who seems to be in perpetual Terminator mode -- to flex his muscles.
  51. This road-trip piffle is basically a male version of a chick-bonding flick.
    • USA Today
  52. If only the story that surrounds this watchable heroine were as well-stacked.
  53. Actor John Corbett, so clean-cut in "My Big Fat Greek Wedding" and "Raising Helen," goes surprisingly scruffy here as someone who apparently studied music under Grizzly Adams.
  54. The martial-arts sequences take this prosaic thriller to a higher level.
  55. The actors take a back seat to computer-generated demonic images and apocalyptic special effects.
    • USA Today
  56. Imagine a movie so broadly conceived that it was written, directed and all parts were played by Charo — billed in her '70s heyday of Love Boat gigs as the "Cuchi-Cuchi Girl." That's what you get here.
  57. The fantasy segments, played up in trailers, get bogged down amid the ho-hum tale of a loser making good.
  58. The movie tries to be both comical and touching, as befitting the coming-of-age genre. But it feels forced, derivative and sometimes sappily sentimental.
  59. David Mamet handled such small-town whimsy better in 2000's "State and Main." Hackman could play his role in his sleep, but Romano IS asleep. Result: Welcome to Mildport, and that's being kind.
  60. This is an amusing vehicle for Gibson. At least this time, the bird doesn't fall off the wire. [10 Aug 1990]
    • USA Today
  61. A substandard ebony-and-ivory buddy pic.
    • USA Today
  62. Quvenzhané Wallis is adorably plucky as the lead in Annie. She and Jamie Foxx as the newfangled Daddy Warbucks character have an appealing chemistry and their songs together are the best moments in the movie. But the rest of Annie is banal, shallow and markedly cynical.
  63. Yet another foray into unnecessary 3-D, is a rehashed mishmash of Jonathan Swift's 18th-century classic. Mostly, it's a vehicle for Jack Black's zany humor.
  64. You've never seen a movie like Sucker Punch. And depending on your entertainment preferences, you may not want to.
  65. Love Happens is an oddly upbeat title for a movie that is surprisingly sad.
  66. Kid's tone is off 100% of the time. The young actors are irredeemably bland, and two of the adults (Michael Des Barres' bank president, James LeGros' Storm Trooper-like security guard) are hammy enough to make James Brown seem controlled.
  67. Pytka may know how to push fizzy water, but he certainly can't make a punch line sparkle. [21 Aug 1989]
    • USA Today
  68. RV
    Unfunny, sappy and massively predictable.
  69. All the obvious elements combine to manipulate the audience into a weepy time at the movies -- again.
  70. In this Amityville, the performances are bad, the special effects ho-hum, and it's not even particularly scary.
  71. The only good thing about Impostor is the appropriateness of its title for a film posing as the first 2002 release.
  72. It's one bad apple.
  73. This is not only unsuitable for children, it's a colossal waste of time at any age.
  74. A contrived, unpleasant and very drawn-out affair.
  75. For added heehaws, the normally dependable Nick Swardson comes along to act the ass and delve into some of Sandler's more nuanced scatological humor.
  76. This is about Meg. Only about Meg. Meg in the Middle.
    • USA Today
  77. Evil's one strong presence is lead Milla Jovovich -- and not because the script gives her supercop/soldier anything interesting to say.
  78. It may sound like a Peter Pan spinoff, and Dear Wendy does involve lost boys in a stagey setting, but the film is closer to "A Clockwork Orange" than a tale of lasting youth.
  79. Though it's meant to be pulse-pounding, After Earth is a lethargic slog.
  80. The only possible reasons to do this concept again is sheer laziness (it's easier to borrow an idea) and pure greed (it's cheaper to borrow an idea). [2 April 1999, Life, p.6E]
    • USA Today
  81. Don't buy a ticket for this one, even if the theater is having a fire sale on Raisinets.
  82. There's something about a plus-size floral housedress that brings out the best in many male comics, and Lawrence is no exception.
    • USA Today
  83. Although it's reasonably well-acted and offers a few certifiable jolts, feels awfully familiar.
  84. Though it has flashes of promise, Bones traces the footsteps of its fantasy film predecessors too closely to blaze anything close to an original narrative.
  85. In Roy Orbison terms, enduring this movie is like working for The Man.
  86. It's for people who have always wanted to see Willie Nelson ("Uncle Jesse") lob Molotov cocktails on a freeway and smoke weed with Joe Don Baker, who plays Georgia's governor.
  87. While Basinger admirably invests her role with deep passion and looks splendid in her Kenya khakis, the true story she stars in is disappointingly tame and dramatically inert.
    • USA Today
  88. This junior chick flick merely reinforces superficial clichés one associates with female teens: petty fights, intense highs and lows, and self-absorption.
  89. As far as acting goes, neither Olsen is ready for Euripides' Medea, yet each projects well enough in their shared big scene.
  90. With its excessive sleaze and gross-out gags, Soul Plane overshoots effective spoofery. Mostly it's a foul, eye-rolling experience.
  91. Sleepover might appeal to 11- and 12-year-old fans of slumber parties, but it likely will leave their parents stifling a few dozen yawns.
  92. The tone is consistent, but consistently uneventful. [06 May 1994]
    • USA Today
  93. Where it should be light and graceful, Leap Year trips and thuds.
  94. While the film comes to a mildly clever conclusion, it feels like a bottle of vintage champagne that never gets to pop its cork at midnight. All that fizz potential wasted. [26 Feb 1999]
    • USA Today
  95. Trashy and disturbingly violent yet fairly zippy and amusingly cast.
  96. Face it. Parody comedies are no longer a laughing matter. [25 October 1996, p.5D]
    • USA Today
  97. Deafening, deadening and about two hours too long, Extinction would mark the weakest installment yet of the 7-year-old Hasbro franchise — if the previous three movies were discernible from one another.
  98. The movie goes wrong from the start.
  99. There's nothing very wise about The Brothers Solomon. It's a moderately funny premise in search of some real laughs.
  100. It's a pretty twisted concept, bordering on offensive. But mostly it's just not funny.

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